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My First Composition With GOS + Altiverb/GOS IR

Hello All,

I recently completed my first composition with the GOS Akai version. This piece was intended to be just an exercise, with a simple melody and accompaniment repeated four times. My goal was to see how much variation I could create within each \"round\" and still have the overall piece work as a complete piece of music. Once the initial midi parts were entered and duplicated, I shifted to \"conductor\" mode when thinking of how to orchestrate. This has been a wonderful learning experience.

My DAW consists of a Mac G4/DIGI OO1 DAW running Unity Session. After converting the GOS Akai volumes with Osmosis, they worked flawlessly within Unity. However, the mod wheel seems to have no expressive affect, so I am assuming the controller routing does not translate. As a result, my only expressive control was midi velocity when entering the parts, and riding the volume of various tracks during mixdown. Altiverb running a GOS IR was used for reverb, and added a great deal of realism to the final mix. I should mention that guitar is my primary instrument, and my keyboard chops are nearly non-existent. Also, I am not a professional musician nor a trained composer, and I do not read or write notation. So I offer this piece with humility, and an understanding that I am way out of my league by posting this sample here.

I would certainly appreciate any feedback or advice about how to enhance my neophyte skills using GOS in an orchestral context, and/or to point out specific points or places within the piece that cry out for improvement. In any event... I am so excited about what GOS will add to my compositions as I learn and grow as a musician and composer. Here is the link for \"Theme and Repetition\" and also a link for my site which has solo guitar performance in a Johnny Smith chord/melody jazz style if anyone would like some nice dinner music - a few original pieces are included as well.

Re: My First Composition With GOS + Altiverb/GOS IR

Dennis,

Sounds very good indeed for a first attempt with the Akai library (and no functioning EXP capability, in your case). The only thing that caught my ear was the first break at just before the one minute mark – the release is a little abrupt.

As to riding the volume to compensate for the lack of the EXP feature: When you say you are “riding the volume during mixdown” I get a picture of you trying to handle this in real time. If that’s the case, instead, try using cc#11 as the controller of choice for shaping the dynamic flow of a line. By drawing (or playing and recording) this data into the various tracks you can automate volume changes and relieve yourself of the task during mixdown. Or maybe that’s what you’re already doing!

Contact Gary, he may want to post this on the GOS site as an example of the application of the Akai version of the library. Keep up the good work.

Re: My First Composition With GOS + Altiverb/GOS IR

Hello Tom,

Thank you so much for your post. I will listen to the first break you mentioned and perhaps will try a more subtle release there.

Using ProTool LE on the mac, I printed each stereo audio track to hard disk, and then mixed with the virtual sliders, which are automated of course. When mixing, I would loop a section [usually a four bar phrase] and play conductor, closing my eyes and imagining myself in front of a real orchestra. It was fascinating to bring various parts in and out of the mix and hear how they could either create lovely synergy or bombastic chaos. The difference between beauty [to my ears] and sonic mud was often a very tiny adjustment in gain of a single track. This is probably \"old hat\" to most on this forum, but it was a profound lesson for me. And clearly, I will be listening to recordings of real string orchestras [and also the demos on Gary\'s site] with a new set of ears.

Regarding the EXP feature.... what is the difference between cc#7 [VOL] and cc#11 [EXP], and is it reasonable to assume that if the GOS AKAI volumes are properly translated, I should be able to use the EXP feature? What other cc features [if any] are built into the AKAI version that I might be able to use if the volumes are properly translated?

And yes... Gary sent me a note regarding the GOS demo site [ [img]images/icons/grin.gif[/img] I almost fell on the floor] and ended his note with: \"Excellent work Maestro! Bravo!\" [ [img]images/icons/shocked.gif[/img] HELP... I\'ve fallen and I can\'t get up] My wife and kids have been calling me \"Maestro\" all day... and I am trying my best not to do that smug Barney Fife \"sniff\" every time I hear it... [img]images/icons/cool.gif[/img]

Re: My First Composition With GOS + Altiverb/GOS IR

“Regarding the EXP feature.... what is the difference between cc#7 [VOL] and cc#11 [EXP], and is it reasonable to assume that if the GOS AKAI volumes are properly translated, I should be able to use the EXP feature? What other cc features [if any] are built into the AKAI version that I might be able to use if the volumes are properly translated?”

Actually, the question should be, “what is the difference between cc#7, cc#11, and EXP?” Three different things. As designed, MIDI volume (cc#7) should be used to set the level of an instrument relative to others in the mix; this data is usually placed at the beginning of a track. MIDI expression (cc#11) should to be used to “shape” the dynamic flow of a passage – in other words, expressive volume changes within a track. By using this approach you can change the overall level (cc#7) of an instrument at any time without disturbing the dynamic “shaping” (cc#11) of the track. Finally, EXP is mod wheel control of crossfades between layers that were actually recorded at different levels (e.g. p, mp, mf, f). This does give you changes in level as you sweep through the layers but it also reflects changes in timbre and vibrato intensity used by the players at these different dynamic levels. This results in more realistic dynamic control than just volume changes can supply.

The Akai version is limited in its application of EXP due to the Akai architecture. A workaround has been used to give some of the benefits of EXP in the Akai version. If and when Unity becomes able to handle MIDI controlled layer crossfades you may want to talk to Gary about substituting the Giga lite version which has true 2 layer EXP instruments. The Giga lite version also uses more controllers (e.g. cc#16 for attack envelope control or cc#17 for release control, depending upon the instrument) than the Akai’s basic implementation (volume, expression, panning, pitchbend, etc.). As a point of reference, the more expensive full-sized Giga library has both 2 and 4 layer EXP instruments.

Re: My First Composition With GOS + Altiverb/GOS IR

Hello Tom,

Thanks for the explanation... being able to control crossfades with the mod wheel sounds like a wonderfully expressive tool. I called Bitheadz today and spoke at length with Jeff in Tech Support [helluva nice guy by the way] and he is going to collect and email the results of testing and research Bitheadz has been conducting regarding Giga files and GOS Akai and Giga versions in particular. I will keep you updated.

Jeff told me that the latest version of Unity Session [3.0.4] will play uncompressed Giga files right now. It will be interesting to see how many of the built in feature of GOS Giga are available within Session without too much tweaking and head scratching.

One question Tom... you said \"A workaround has been used to give some of the benefits of EXP in the Akai version.\" What is this workaround and how can I apply it with the Akai version of GOS I have right now? Also, have you heard any reliable estimate of when Translator Mac GOS version will be fully operational? [next month... right?]

Re: My First Composition With GOS + Altiverb/GOS IR

“What is this workaround and how can I apply it with the Akai version of GOS I have right now? Also, have you heard any reliable estimate of when Translator Mac GOS version will be fully operational? [next month... right?]”

I’m not sure if Garth is still hanging around here but he’s the best one to answer both of these questions. While I programmed the full and lite Giga versions of GOS, Garth handled the Akai conversion and developed the EXP workaround. If memory serves, the workaround was to have the lower layer play out while the upper layer was controlled by the mod wheel.

Garth is definitely the only one who could answer the Translator Mac question.

Re: My First Composition With GOS + Altiverb/GOS IR

Hello Tom...

Bitheadz has just released the 3.0.5 update for Unity Session, which is supposed to include some new keyswitching functions and other midi controller enhancements. Also, I have a GOS Lite on the way, and I understand that Unity Session will play streamed Giga samples now. It will be interesting to see how and if the EXP crossfade works.. I will let you know. I spoke with Garth, who advised that all the expressive controls [ESP, WRM, VIB, etc.] are built into the Akai version and should work if the volumes are properly translated. Garth also assured me that a final version of Translator for Mac - Garritan Edition will be available for download by the end of October.

Alrighty then...

One question for you... is the overall structure of the Lite version of GOS truly representative of the full GOS Giga version, other than the 2 versus 4 layers of crossfades? I guess I\'d like to know whether or not the strategies I create to optimize Session with GOS Lite will transfer over to GOS Full if I decide to upgrade at some point?

Re: My First Composition With GOS + Altiverb/GOS IR

Dennis,

“One question for you... is the overall structure of the Lite version of GOS truly representative of the full GOS Giga version, other than the 2 versus 4 layers of crossfades? I guess I\'d like to know whether or not the strategies I create to optimize Session with GOS Lite will transfer over to GOS Full if I decide to upgrade at some point?”

That’s an interesting question. Yes and no. I think it’s a bigger “no” than a “yes,” but it kind of depends on which instruments become your favorites. There are many things in common between the two libraries – articulations and keyswitches come to mind, but there are also many things related to the more advanced features that are different. It’s quite a list of things that force a different approach with the Full library. Here are a few that require changes in the way you work and don’t exist in the Lite version:

1. MaestroTools. It works in conjunction with specially programmed instruments to give the user “forced” and auto-alternating bow strokes, LEG (masking sample) legato features, and (for use with any sustain instruments) 2 types of mono mode. The alternating bow strokes work in a similar fashion to keyswitches whereas the LEG and mono modes modify the sustain pedal data and use it for switching on and off. The LEG features create high polyphony demands that must be considered during your work.

2. The Full library has a much more extensive use of MIDI controllers. These vary from instrument to instrument (that’s why we include an allocation chart) but give control over such things as: attacks, releases, length of standard short bows, strength of masking samples in the LEGs, and wet/dry control of pizz.

3. The mod wheel also takes on additional functions for things like x-fading between wet/dry pizz, x-fading between non-vibrato and vibrato samples, variability features for the VAR short bows, interval selection in the Slides Toolbox, etc.

4. The special effects sections use keyswitch layouts and greatly stretched sample construction.

5. Finally, the sheer bulk of the full library should not be underestimated in its effect on your working habits. The Lite library has over 200 instruments but the Full library has over 900 and that’s not counting the options available like “All WARM” and “Exaggerated Range.” You must become familiar with the choices in the Full library before you can effectively select the ones that best suit your MO.

I think that after you become familiar with the tools available in the Full version you will probably select many of the more advanced instruments – and they can be quite different in function from the tools available in the Lite version. The strategies you devise for the Lite version will still apply to some of the things in the Full version but, for others, you will need to add new approaches.